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Submited DocuTIFF 2017 » SUBMISSIONS DOCUTIFF 2017 TIFF web 350 films 117 shorts 82 mid-length + 152 feature) FilmFreeWay 2061 films 1333 shorts 351 mid-length + 377 feature) Festhome 206 films 111 shorts 35 mid-length + 60 feature) FilmFestivalLife 92 films 51 shorts 17 mid-length + 24 feature) Click4Festivals 110 films 56 shorts 24 mid-length + 30 feature) Movibeta 89 films 51 shorts 17 mid-length + 21 feature) Distributor 80 films 22 shorts 8 mid-length + 49 feature) _____... SPECIAL PROGRAM » SPECIAL PROGRAM 3rd edition DocuTIFF 2017   PANORAMA 1. André Villers, a Lifetime in Images by Marketa Tomanova | 2015 | Czech Republic, France | 62' 2. Born of Stone by Emilio Bellu | 2016 | Italy, Czech Republic | 15' 3. Cab Elvis by Andrew Franks | 2016 | USA | 11' 4. Korida by Siniša Vidović | 2016 | Austria | 87' 5. Offshore by Werner Schweizer | 2016 | Switzerland | 102' 6. Operation Wedding by Anat Zalmanson-Kuznetsov | 2016 | Israel | 62' 7. The Most Important Boy in the Wor... OFFICIAL SELECTION DocuTIFF 2017 » OFFICIAL SELECTION 3rd edition DocuTIFF 2017     FEATURE 1. Next Stop-Utopia by Apostolos Karakasis | 2016 | Greece | 91' 2. Pavlensky – Man and Might by Irene Langemann | 2016 | Germany | 99' 3. Radio Kobani by Reber Dosky | 2016 | Netherlands | 72' 4. Shingal, Where Are You? by Angelos Rallis | 2016 | Greece, Belgium | 103' 5. Stranger in Paradise by Guido Hendrikx | 2016 | Netherlands | 72' 6. Swagger by Olivier Babinet | 2016 | France | 85' 7. Tempestad by Tatiana Huezo | 2016 |... FESTIVAL RULES & REGULATIONS DocuTIFF 2017 » Entries of documentary films are invited to take part in competition in all formats of video and digital. All running times, topics, style and production technologies can be submitted. The director/producer with the submission of his/her application accepts the terms of the Festival and has no objection to the submission process, screening, and election of prizes. The director/producer with the submission of the film affirms that he/she has all the copyrights of audio, video, images and music ... DocuTIFF 2017 » 3rd edition DocuTIFF 2017 TIRANA INTERNATIONAL DOCUMENTARY FILM FESTIVAL DocuTIFF is exited inviting filmmakers to submit their films in the third edition of 2017 festival, which will take place in Tirana, May, 10-17, 2017. DocuTIFF invites all documentaries from established and debut filmmakers alike to apply their feature, mid length and short films in International Competition and In Albanian Competition. DocuTIFF aims to encouraging documentary film production in Albania and to give... Awards Docutiff »   FEATURE JURY composed by Rada Šešic (Croatia), Agostino Ferrente (Italy) and Nikola Vukcevic (Montenegro) awards:   BEST FEATURE FILM Tempestad by Tatiana Huezo | 2016 | Mexico | 105'   The director who takes the audience on a contemplative and cinematically superb, poetic journey of exploring fear, corruption, social injustice and above all - the human strength to deal with and overcome misfortune of someone's destiny.   Regjisori, i cili e çon audiencën në një udhëtim kinematogr...
Friday, 22 September 2017
Vittorio De Seta
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He was born in Palermo, Sicily, to a wealthy family, and studied architecture in Rome, before deciding to become a director. De Seta made ten short documentaries between 1954 and 1959, before directing his first feature-length film, Banditi a Orgosolo (Bandits of Orgosolo). His early documentaries focus on the everyday life of many of Sicily's poorest workers, and are notable for their lack of voice-over narration, quiet mood, and striking color. In 2005 the rediscovery of Vittorio De Seta's work was a highlight of Tribeca Film Festival and Full Frame Documentary Film Festival, where was presented Détour De Seta, a documentary on the Italian director.
Banditi a Orgosolo (1961); Un uomo a metà (1966); L'invitata (1969); Diario di un maestro (1972, TV); In Calabria (1993); Lettere dal Sahara (2005);
Documentaries; Vinni lu tempu de li pisci spata, 11', 1955; Isole di fuoco, 11', 1955; Sulfarara, 10', 1955; Pasqua in Sicilia, 11', 1955; Contadini del mare, 10', 1955; Parabola d'oro, 10', 1955; Pescherecci, 11', 1958; Pastori di Orgosolo, 11', 1958; Un giorno in Barbagia, 14', 1958; I dimenticati, 20', 1959
Awards 1957. David di Donatello: Targa d'argento;  1961. Best First Work in the Venice Film Festival with Banditi a Orgosolo;  1962. Silver Ribbon of the Best Cinematography B/W at the Sindacato Nazionale Giornalisti Cinematografici Italiani (Italian National Syndicate of Film Journalists) with Banditi a Orgosolo.

 

 

 

 

 

 

Lu tempu di li pisci spata

Film HUNT shows the director’s sense for detail and visual beauty, which turn a day of swordfish hunting into a dramatic poem. A realistic depiction of the dull waiting in the Strait of Messina, and of the sudden struggle to reel in the fish. A portrait of man versus animal – ordinary and majestic at once.

 

 

 

 

 

Pasqua in Sicilia

FilmCELEBRATION captures the tremendous religiosity of human emotions during Holy Week. During the year’s most important holiday, people perform scenes from the Bible, priests and soldiers sound their drums, Jesus carries his cross, and the onlookers’ dark red masks symbolize the evil forces that led to the death of the Lord.

 

 

 

 

 

 

 

Pescherecci

Each De Seta film examines how the natural environment determines the behaviour of the people living in it. PESCHERECCI sheds light on the fisheries between Sicily and Africa. De Seta shows how the fishermen put out to sea in all weathers to scrape a living. If a storm breaks, the fishing boats seek refuge on the island of Lampedusa. The sober but effective use of the surrounding sounds drowns the fishermen’s voices and gives the film an extra dramatic dimension.

 

 

 

 

Un giorno in Barbagia

FilmWOMEN was made in Barbagia, a rocky region in the middle of Sardinia, where most men from local villages spend most of their time with their herds far from their families. The houses are left to the women, who take care of children, work in the fields, gather wood and bake bread, the herdsmen’s meal. Filmed in villages at the ends of steep, unpaved roads, the film reminds of the women’s lot, their patience and quiet devotion.

 

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